Designer: Isaie Bloch / Eragatory
Website
Location:
Excessive studio, die Angewandte
Vienna Austria / Ghent Belgium

*What can we say – Reality Distorted is a HUGE fan of the Excessive Studio by Hernan Diaz Alonso – check out some more amazing, intense, beautiful and highly talented work coming out of Vienna!

Proposal: Concert Hall
While the architectonic aesthetic may seem to revolve around a straightforward gimmick, the work is much richer than that. The more you look, the more you realize how many levels it operates on, from its allusions of architectural ruïnification/collapse as in the romantic era to its connections to our current culture of remixes and mash-ups.

The Concert hall balances on a fine line between sculptural architectural objects and functional monuments, between meaning and use and between the beautiful and the horrific. Each successive component of the design layers the pragmatic with an evocative spatial experience obtained by degeneration of architectural primitives in stead of the aggregation of complex freeform geometries, which would lead to very linear repetitive spatial experiences. It reorients the visitor toward a new architectural perspective and circulational/functional logics. A way of entering into the subject of the exclusive high class Vieanese theatre spectator or his opposite looking for a free platform to spread his word.

While this “fictional” concert hall is visually divorced from reality, it gives a sly commentary on the current state of architecture. After leaving this page and stepping back into the build environment, it shocks how much the building across from you, with its cheap-looking touches of faux masonry or abundant technical supplies, starts to evoke similarities with this so called “horrific, dystopian, retro past aesthetic” concert hall.

Designers: Kory Bieg + Alexa Getting
OTA+
website
San Francisco,CA

Proposal:
New Taipei City Museum of Art International Design Competition

This building proposal challenges the traditional definition of a museum and the conventional relationship between building and site. The ground floor of the building is reduced to a nominal footprint, enclosing only enough space for basic services, structure and ticketing functions. The ground plane is primarily reserved for exterior public space, including an art park, Hall of Fame, and garden walk. The bulk of the program and building mass are split by the open ground floor. Half of the building is coupled with the earth while the other half hovers in the air. The purpose is twofold; to minimize the damaging effects of extreme local weather by harnessing environmental flows toward productive outcomes and to re-conceptualize the identity of a modern art museum. The manicured roof plane of the below ground program is pocketed with water absorbing vegetation and catchment systems, while the hovering museum above expands to form open atriums, allowing diffuse light to brighten the space and passive airflow to comfortably condition the building.

The program of the museum is interconnected. The Contemporary Museum of Art, Children’s Museum of Art and Administration are located within the floating mass. The lecture hall, parking, art resource center, library and classrooms are located below ground. The programs below ground are easily accessible and directly connected through vertical circulation tubes, providing both structural support for the floating mass above and space for movement systems, such as escalators, stairs and elevators between levels. All of the below ground programs are flooded with diffuse light passing through skylights that penetrate the landscape.

The Contemporary Museum of Art and Children’s Museum of Art are protected from harsh direct sunlight. Though the legs of the floating expanded mass open to large glazed windows, framing views of the surrounding context, the glazing is recessed and deep overhangs protect the art. Additionally, a series of large fin diffusers scatter light and wash the walls evenly. The diffusers are also equipped with sensor-driven controls that circulate fresh air throughout the space.

The positioning of the museum on the site allows for easy access regardless of how one arrives. All paths lead to the center of the site and to a lobby for each museum. The existing road is kept and further augmented to provide access to subterranean parking and the tour bus drop-off. The design of the landscape spreads across the road and bike paths, becoming a flat, patterned inlay. The visual presence of vehicular traffic fades while the meandering pedestrian pathways dominate the ground plane.

The design of the landscape includes a field of elevated berms, meandering paths, and bench seating, all of which wrap around pockets of different land patches. Some patches are filled with natural vegetation that collect rainwater that is reused to irrigate the site. Other patches are filled with sand and gravel, covering a more substantial overflow and catchment system. Finally, where program lies below, large skylights provide diffuse light into the space. By freeing the ground plane of enclosed semi-public space, the interface between the museum and the site offers a new experience of a museum; one that is open, friendly, and welcoming.

Designer: Studio Palermo
website
Vienna, Austria

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Proposal:
THE CATASETUM PROJECT
Musicpavilion

The project shows the designproposal for a musicpavilion at the Stadtpark in Vienna (Austria). Rethinking the concept of a musicpavilion the architectural emsemble of different geometrical and material configurations offers the opportunity for a multilayered and complex music experience. The system includes central positioned sound shells in dependence on biological shell geometries like an ear or a mussle ….and a sound booth system of closed capsules for an intense, individual space for sound…spreading about the area. Another elements provide spaces and areas for a fully self-sufficient energy supply regarding ecological thinking, host interaction and active materials.

Key elements coming from Romanticism such as: ruinification, untamed wilderness, the unfinished and the validation of obscure perceptions are used as modus operandi. Intruding botanical gardens functioning as structure, recombing system hierarchies with an adequate circulation organisation, recombing the visitors attitude in it and the symbiotic form intergration to the surrounding park landscape are all contributing to the architectural qualities of the design.

Committed to the futility to comprehend the world with the aid of rational systems, as well as from the inferiority of every perfect thought compared to the inherent laws of NATURE. A New Romanticism approaches new areas in design and architecture processes – emerging aestetic paradigms and systematic specifications.

Here is where the true transformation is happening. We are subverting the logic of perfection: what used to be about mastering the result of a non-perfect process is now about the production of monstrosity and the grotesque thought the mathematical perfection of an evolutive mechanism.

Designer: Michael Arellanes II
Firm: MA2
Website
Houston, Texas

Proposal:
The design proposal is for an urban stadium that will serve the local colleges, high schools, and surrounding communities within Seoul to enclose sports venues and entertainment. The site is located in the Nan-Ji camping area near No-Eul Park, Sang -Am-Dong. This is an ideal site for its view of the city skyline and its proximity to nature. With such an explosive tectonic form placed in such a site, the project performs as a catalyst for varied activities over long durations. Scale and material elements activate the urban condition by the stadiums placement along the coast. With a radiant force of curvature and triangulated panelization through the path of the structures body, it adds a dynamic flux form with structural capabilities. The valiancy is applied to the outer and inner structural shell by its configuration, composite-performance, aesthetic, and operational functions. The dynamic curving exterior body is intended to have poly-operational purposes, not only a visual stimulus but as a layered structure with curving pockets of space that transition the occupant from floor to floor. Entrance into the structure begins at the center of the exploding tectonics; this brings them into a tessellated secondary structure that’s integrated into the stadium seating. The form of the exterior begins with radically fluid bodies and transition into sleek components that shield weather elements and perform with edifice veracity. The component shells distribute tension through the varied curved type and contain a gradient cavity that screens sunlight for the stadium audience. Materials for the project are stainless steel, carbon fiber, and concrete to create a strong monument of urban flux and valiance.
Concept:
Poly-Valiant structures are tectonics with multi-performance properties that address engineering, aesthetics, technology, surfaces, space, and component based typologies. The urban stadium attempts to contain sleek elements and lines like that of high performance sports cars. This gives the stadium valiancy in aerodynamic formal bodies and operational function. The aesthetic formalizes an exploding force that compounds into a structural shell, and then stretches across in a simple-elegant curve. It expresses the varied stages of force.

Designer: Liu Chien Sheng
Vienna, Austria
a98930012(at)gmail.com
sansspace
san-architecture
Vimeo

Proposal:
This is a postgraduate thesis on a cathedral, presenting a new idea of societal multi-function, and the development of sanctity and form. The site is located in St. Stephen’s Cathedral which is the center of economy, culture and traffic in Vienna, Austria.

New cathedral integrates the surrounding societal functions, such as religious, art, commercial activities, tourism and traffic system. The church is placed on the ground floor, theaters and department store on the upper floor of the basement, and metro station on the bottom of basement. All the layers are divided by glass floor, and thus, the activities in different level generate visual overlap by the transparence of glass floor. People can experience the new cathedral through variety of spaces. This design is more appropriate style for the cathedral which is required to have multiple functions in modern human life.

Moreover, it also attempts the rising sanctity by new space approach.
1. The main cathedral building was set up among the large opening, and isolated from residential area for showing its uniqueness to god. 2. After Roman and Gothic Style, the new style is continued in a rising structure with twist. The unaware direction and the reflective light create a new experience of sanctity. 3. The glass floor is transformed from rose window, and keeps the cross to be the main ground floor.

The form of architecture comes from the reserved altar structure of St. Stephen’s Cathedral. After defining the principle of the transformation, the basic column structure was reformed into various types and generates the spaces in different parts of columns to accomplish the catalogs of typologies.